Tag: Prashant Mehra

Pink Movie is exactly what India needs today. A clean wipe off to re-enter rules on our societal slate. To bend the rules that traditions have been shoving down our throats. You need to comprehend there are no rules to define stereotypes; it’s all in your head! Force-fed into your brain so you follow paths that were laid out by a dumb society. It is time to take a stand, and say no to them once and for all.

PINK MOVIE DELIVERS MAGNIFICENCE

Aniruddha Roy Chowdhury’s outstanding courthouse drama makes us dilate our eyebrows at Indian Cinema’s weird contrariety, when you let it stand against the likes of last month’s mediocrity Rustom.

Shoojit Sircar’s knack for making the awesome continues as he picks another pearl right off its mollusk. A topic so ballsy that people need to watch this movie with eyes wide open, with ears perceptive as hell and with muzzled heartbeats to feel its true touching rhythm.

MIND BOGGLING DIRECTION

Aniruddha’s direction is off the charts. When he chooses to begin the movie with the perception of what common man sees, you know the director is keen on gradual revelations. Plot unfurls within seconds though, but its pace is forever carrying that crucial element of doubt to leave you guessing invariably.

Aniruddha is careful enough to capture remarks of the conservative. He stays on the streets with the camera to depict what the average Indian mentality reeks of. It is disgusting, but is in its truest form. You can’t help but think how judgments are carried out outside the court too. Little heads with gavels they are, writing off people with their trivial acts.

THE SATIRICAL PLOT

Minal Arora brilliantly played by Tapsee Pannu, is under the radar for assaulting Rajveer Singh with a bottle, convincingly played by Angad Bedi. Since the lad is the son of a minister, cards are completely against her. The prosecution tries to blemish her, demeans her in profusion in order to save Rajveer Singh from his own muck.

The chaotic jaws of allegations try to swallow Minal’s two friends too, who were at the crime scene. Stands in the vanguard of the prosecution, an extraordinary actor Piyush Mishra playing the role of a prudish typical Indian lawyer Prashant Mehra. He is willing to leave no stones unturned to see to it his client ends up a victor. Mehra comes with an ink of decadence and spills it on all three of them in his brazen sense of disregard.

On the good side fortunately, there is a guardian Godfather, a retired brooding ace lawyer Deepak Sehgal who watches upon the fallen, silently. Played by none other than Amitabh Bachchan, hands down one of the best Indian actors to have ever existed. He mocks the extant narrow mindedness through sarcastic assertions, the Rule Book of Indian Women Safety as he calls it, and shows exactly what majority of the Indian multitude thinks today.

He openly mocks our parochial heads with his brilliant subtle one-liners that will compel you to contemplate. Magnificent screenplay paints the courthouse with his thunderous resounding voice, as he tries to show everyone the point of his prodding.

EPIC BATTLE OF PINK

What follows is an engaging questionnaire from both ends that make for an epic display of riveting melodrama. It spares nobody. The seated and the standing, the risen and the fallen, the privileged and the indigent; everyone is forced to stand stark naked against the law. It decapitates them all.

The final judgment will have your faith restored in the Indian Judicial System again. But you get to see the ugly side of a dodgy Indian Police Service system. Watching abominable acts of Police will make you shake your head in disgust. It is still the way of the living here, and you wonder out loud, “Where is the education?” No wonder everyone is afraid to get entangled with Indian Police Force even when there’s a minor delinquency.

STUNNING CAST

We can’t overlook Pink’s well carved actors at all. If it were not for a haughty ill-mannered Angad Bedi, we wouldn’t have looked into a proper impeccable reflection of grown up Indian brats. His presumptuous nature is a result of an incessant hammering that he has garnered over the years from a system of wrongs, and a wrongful upbringing.

Then there is that natural flair of Tapsee Pannu that calls for an instant admiration. Kirti Kulhari’s gradual developing comportment that remains slave to any minor incitation is worth applause too. Words can’t weigh Amitabh Bachchan’s colossal experience. Well supplemented at all times stays Prashant Mehra’s effortless acting.

THE WRITING

The movie features extraordinary songs that go in the backcloth of enchanting images of Delhi, and feeds on the plight of the trodden. Very brilliantly written and performed. Screenplay of the Pink movie written by Ritesh Shah, drops you careful one-liners those that are superbly penned too. But with that, at times Pink movie becomes susceptible to its apparent contrivance.

ONE DOWNSIDE

In a chaotic ruckus a subplot from Pink movie gets immensely lost. Not just the subplot, but an actor too. An astonishing fleeting performance by Vijay Verma who plays Ankit Malhotra, who we find performing incredibly well in the first few scenes of the movie. Unfortunately courthouse ends up becoming the culminating need of the hour, and he gets overshadowed beyond limit. I wished to see more of him, and the sub-plot that never actually made it out in the open, to prove another crucial felony.

HITTING THE GAVEL

Pink movie is as grim as it gets. It stays well placed within superlative delineations of Aniruddha Roy Chowdhury’s exceptional direction and ravishing performances by the cast. There is sarcasm engraved in Pink, which is nothing but a slap on the faces of those who are still too conservative to change.

Finally to put the cherry on the cake, Amitabh Bachchan in his grave voice recites his father Harivansh Rai Bachchan’s beautiful poem:

“Tu chal teri wajood ki samay ko bhi talaash hai”

And the atmosphere erupts with a rare impactful profundity. That’s how I prefer my conclusions too. A must-watch everybody!